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Palestrina (opera)
''Palestrina'' is an opera by the German composer Hans Pfitzner, first performed in 1917. The composer referred to it as a ''Musikalische Legende'' (musical legend), and wrote the libretto himself, based on a legend about the Renaissance musician Giovanni Pierluigi da Palestrina, who saves the art of contrapuntal music (polyphony) for the Church in the sixteenth century, through his composition of the ''Missa Papae Marcelli''. The wider context is that of the European Reformation and the role of music in relation to it. The character of Cardinal Borromeo is depicted, and a General Congress of the Council of Trent is the centrepiece of Act II.
The conductor of the premiere was Bruno Walter. On 16 February 1962, the day before he died, Walter ended his last letter with: ''"Despite all the dark experiences of today I am still confident that ''Palestrina'' will remain. The work has all the elements of immortality"''.〔Liner notes to the Rafael Kubelik/Nicolai Gedda/Dietrich Fischer-Dieskau DG recording〕
== Critical appreciation==
Claire Taylor-Jay has discussed Pfitzner's depiction of the political relationship between Palestrina and the Council of Trent, in the light of several German "artist-operas" such as Paul Hindemith's ''Mathis der Maler''.〔Claire Taylor-Jay, ''The Artist-Operas of Pfitzner, Krenek, and Hindemith: Politics and the Ideology of the Artist'', Aldershot: Ashgate, 2004.〕 Mosco Carner has written on Pfitzner's own expression of the role of spontaneous inspiration in composition, as expressed in ''Palestrina''.〔Mosco Carner, "Pfitzner v. Berg, or Inspiration v. Analysis". ''The Musical Times'', 118(1611), pp. 379-380 (May 1977).〕 Several scholarly articles have delved into Pfitzner's musical and ideological conservatism, as expressed in this opera.〔Michael P. Steinberg, ("Opera and Cultural Analysis: The Case of Hans Pfitzner's Palestrina". ) (Subscription Access)
''The Musical Quarterly'', 85, 53-62 (2001).〕〔Leon Botstein, ("Pfitzner and Musical Politics". ) (Subscription Access) ''The Musical Quarterly'', 85, 63-75 (2001).〕 Gottfried Scholz has written of Pfitzner's depiction of the title character as a surrogate for himself.〔Gottfried Scholz (translated Irene Zedlacher), ("The Image of Giovanni Pierluigi da Palestrina in Pfitzner's Palestrina". ) (Subscription Access) ''The Musical Quarterly'', 85, 76-84 (2001).〕 Karen Painter has discussed commentary on the opera in Nazi Germany.〔Karen Painter, ("Symphonic Ambitions, Operatic Redemption: Mathis der Maler and Palestrina in the Third Reich". ) (Subscription Access) ''The Musical Quarterly'', 85, 117-166 (2001).〕
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